3dmax戰(zhàn)士角色制作流程

我會(huì)盡我所能解釋這個(gè)項(xiàng)目背后的過程。從收集開始引用到最終渲染和合成。希望你覺得有用。
In this breakdown I will explain as best as I can the processes behind making this project. Starting with gathering references through to the final rendering and compositing. I hope you find it helpful.

Gathering references

The most important part of any project is to find something that will inspire you and keep you motivated throughout the creative process. You need plenty of references of what you are studying to. I took my inspiration from these reference images to create a complex and detailed layered armor.

任何項(xiàng)目中最重要的部分是在你的創(chuàng)意過程中找到能激勵(lì)你的東西。你需要大量引用的研究。我把我的靈感來自這些參考圖像創(chuàng)建一個(gè)復(fù)雜和詳細(xì)的分層的盔甲。
參考圖像我的主題

Armor modeling & sculpting and UV mapping

After gathering the reference images and source materials it was time to start modeling the whole thing. In Maya I started by making my base body place holder and I decided that I would make this character 7.5 heads tall instead of 8, as a bit of an experiment. After blocking the body I started layering up the armor starting with the torso which helped when placing the other parts, arms, legs, and waist. Before moving to ZBrush, I made sure to UV map the whole armor; unfortunately during the sculpting process I had multiple file corruptions and failures which led me to redo big portions of the armor and also drove me to split the ZBrush file into five different sections according to their placement. I used a variety of sculpting techniques and brushes to get the detailed textures on the armor, including the Standard brush andRyan Kingslien's alphas.

收集參考圖像和源材料后，開始建模整個(gè)事情的時(shí)間到了。在Maya中我決定用這個(gè)角色7.5頭高而不是8,作為一個(gè)實(shí)驗(yàn)。在擋住身體后，我開始用軀干將盔甲分層，當(dāng)放置其他部位，手臂，腿和腰部時(shí)，在移動(dòng)ZBrush之前,我確保UV映射整個(gè)裝甲,不幸的是在雕刻過程中我有多個(gè)文件的墮落和失敗讓我重做大的部分盔甲，我把ZBrush文件分割成五個(gè)不同的部分根據(jù)他們的位置。我用各種各樣的雕刻技術(shù)和刷子盔甲上的紋理細(xì)節(jié),包括標(biāo)準(zhǔn)刷andRyan Kingslien阿爾法。
線框顯示對(duì)象和分層的盔甲
線框顯示對(duì)象和分層的盔甲
雕刻技術(shù)用于這個(gè)角色

Face sculpting

With the armor sculpted and textured I was ready to move on modeling the face, as usual starting from low resolution base mesh moving up the resolution as well as details. And as before I had to make sure that UVs are up to the resolution that I need. As shown I have used some of Rick Baker's alphas, some other alphas I made and some Standard ZBrush brushes.

隨著盔甲的雕刻和紋理我準(zhǔn)備移動(dòng)造型的臉，像往常一樣，從低分辨率的基礎(chǔ)網(wǎng)格移動(dòng)的分辨率以及細(xì)節(jié)。和以前一樣我必須確保UV是我需要的分辨率。如圖所示，我用了一些里克貝克的阿爾法，阿爾法我和其他一些標(biāo)準(zhǔn)的ZBrush筆刷。
雕刻的臉

Map extractions, MARI setup, Texturing

After the sculpting was done I started extracting the maps I needed to help with painting my textures in MARI. I created AO maps to guide me, and also created the chip offs, torn offs and color variations based on details. I used Vector displacements, 32bit float displacements and normal maps (to generate AO). Maps I painted: Diffuse, Spec and already have the Mid, High frequency details from the extracted maps.

雕刻完成后我開始提取我需要的MARI地圖，我用向量位移,32位浮子位移和法線貼圖(生成AO)。我畫地圖:擴(kuò)散、規(guī)范和已經(jīng)中期,高頻細(xì)節(jié)提取的地圖。
前面的紋理貼圖
背部紋理貼圖

Grooming

For grooming I like to use Maya nHair and ZBrush FiberMesh converted to curves for the finer parts of the grooming such as the eyebrows and eyelashes. The image show a breakdown of my approach to adding hair to this character using multiple Maya hair systems.

我喜歡用Maya nHair和ZBrush FiberMesh轉(zhuǎn)換為曲線的修飾如眉毛和睫毛較細(xì)的部分。該圖像顯示了我的添加頭發(fā)方法，這個(gè)角色使用個(gè)Maya 頭發(fā)系統(tǒng)
增加頭發(fā)的角色

Shading and lookDev

I had to create a light rig that served my needs for Look Dev my character and show me the shader contribution under different light conditions.

我必須創(chuàng)建一個(gè)輕型鉆機(jī)，為我的需求開發(fā)我的性格，并顯示我在不同光照條件下的著色器的貢獻(xiàn)。

Render passes

With everything modeled, textured and lit to my liking I moved on to Nuke to setup the render passes and layers for compositing.

與所有建模、紋理和點(diǎn)燃，我喜歡把所有的圖層移動(dòng)到 Nuke里面進(jìn)行合成。
這是我的核合成這個(gè)角色時(shí)網(wǎng)絡(luò)
近距離的戰(zhàn)士的臉